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I just received a couple of used COS-11s in the mail and the mesh screens look a little gunked up. I haven't even gotten home to test them yet, but considering that they are working and I am happy with the sound quality and do keep them; does anyone have a preferred method of cleaning some of the gunk out? I do have a can of spray electronics cleaner that would probably take care of it, but maybe someone else has a better method? Thanks!

This is really strange. Several years ago I had bought some universally wired COS-11D's from a dealer and then noticed that they seem to be wired out of phase with some other universally wired COS-11D's that I have from a different dealer. I noticed the phase effects when holding them close to each other and listening to them mixed. (Could this happen when the white and black wires are reversed? I can not see how they are wired because of the heat shrink tubing.) Mostly I did not use the different phased mics together on jobs so the phase issue has not been a problem. And all the mics have worked fine on older UM200a transmitters and also some SMQV's that I have.
But I have just this week purchased some new LT's and an SMV. The phase-reversed COS-11D's hardly work on them -- I have to turn the transmitter gain up all the way to hear a little audio, and of course, there's too much hiss and something is clearly wrong. But my older non-phased reversed COS-11D's sound fine on these new LT's and SMV. Has something changed about the wiring to the input connector on the newest Lectrosonics transmitters? Something that is different even from SMQV's that are about 3 years old?

Hello everyone,
First time posting here.
I recently purchased a Sanken Cos-11d (Normal Sensitivity) and the connector seems very shoddy to me, for what is supposed to be a very high quality mic. I checked with a friend of mine and he verified that the connector on his is different (we are both using the same 1/8" connection for a Sennheiser G3 system). I purchased it through B&H, so I assume that it is genuine. The connector says Hicon on the outside and it is made of plastic. Often times, when I attach or removed it from the transmitter, the Hicon plastic part comes unscrewed from the tip and exposes the solder points, which also seem pretty weak. Can anyone verify if this is the genuine connector or if theirs came with this as well?
I have attached photos.
Also, on a related note, I have heard a bit of crackling sound with this mic, even when it isn't close to peaking (around -12dB). Originally, I thought it was because I had the signal too hot at my transmitter or receiver on the G3 system. But, then I attached it directly to a JuicedLink Little DARling, which only has a simple gain setting, and it is still crackling. It only occurs with a voice though, and isn't cable noise. Any idea what could be causing this? (I apologize if my explanation isn't using the best terminology - I do audio out of necessity, but am not a dedicated sound mixer).
Thanks!
-Joseph

Hey all,
My main shotgun mic for about 4 years has been a trusty Sanken CS3 with the mod to make it a CS3e. Recently I needed another shotgun, so I picked up a second, new Sanken CS3e.
I put them up together just for kicks and there is a small but definitely noticeable sound difference between the two. It's subtle but definitely there. The newer one is a little warmer sounding, with a bit more bottom end; the older one is a bit brighter. Interestingly, if I swap the foam windscreens between the two mics I can get them to match quite a bit better. If I put a thicker (cheaper) windscreen on the old one, and a nicer, more open-cell windscreen on the new one, the sound difference is practically negligible.
I know this is a subtle thing, and probably a silly question. I also know that I can send the old back to Sanken for a checkup, but I wanted to ask you guys first as quite a few of you probably have experience with these mics, to see if the sound differences are normal or if they are something I should get looked at.
Thanks!
-Mike

I'm picking up my first COS-11D and i'm grateful for the input i've already received in this thread regarding TA5F to XLR solutions. I work with a couple different crews who use Sennheiser G2/G3 wireless systems. I'd like my TA5F-wired lav(s) to be compatible with these systems since i'm commonly using them. Would anyone recommend the professional's version (not found on Ebay, not 25 dollars) of this: http://www.ebay.com/itm/like/171376718565? All my Googling has turned up very little. Thanks in advance.

Hi there, This is my first post so thanks in advance for being gracious with me. I'm beginning to build my audio kit and, because i'd like to buy a COS-11D lavalier mic, i reached out to Sanken with a question. But, after their reply, it seems clear to me it simply wasn't understood. Here's what i asked: And here was the response from Sanken: Am i missing something obvious? Was this their way of saying, "No, what you want to do is simply not possible." Or were they instead just saying, "We'd really prefer you buy two microphones. That always works out better for us." Any advice and nudges in the right direction would be deeply appreciated. Many thanks.

I was selling my Sanken CS3 (not e) since I've heard the e improved upon the noise floor and thus the cs3 was noiser. Then I tested my friend's Sennheiser MK66 and it was also noisy within the same setup. Thus I think it's my setup instead. Could someone help pinpoint what could be the issue?
Sanken CS3 to Mix Pre D via XLR
AES from Mix Pre D to Digital In of Marantz 661
i've tried different xlr cables also.

Thought I would post here since I'd love to pick up some non-union sit-in and referral jobs in the Los Angeles Area. I've been mixing full time for 2 years and have a couple cable TV features under my belt, among a multitude of corporate and commercial work. I'm also comfortable swinging it or being a utility.
I have a small Nomad 10 follow cart for narratives and a 302 bag for smaller OTF and sit down interview jobs. 4 channels of Zaxcom wireless (3 lavs and wireless boom), and 3 ERX IFB. Additionally, I have 2 Wisycom wideband channels with the assortment of COS11-D and DPA 4060 mics.
If anything, feel free to refer low-no jobs so I can bid up the equipment and labor rates. I'm going broke turning down these $350/12 all in jobs, but I figure it's time to step it up in educating production about what they can and cannot afford with their budgets.
Thanks for reading, and have fun out there!

Last year's 'SHARE YOUR SANKEN STORY' was such a huge success that we are adding to the fun this year with VIDEO. Reenact it, show it or just tell it, you story is worth hearing about.
Follow the link below to get involved!
http://www.plus24.net/sanken/contest2014.asp

Hey soundies, I recently had my apartment broken into in Astoria Queens. They stole my Canon 7D camera, and aKAI keyboard, and my entire 788 sound rig with lectrosonics, comteks, smart slate and everything else in the bag.... This was in astoria, queens New York.... If Anybody knows of any gear someone is selling for very cheap or seems shady please let me know... Cheers

Has anyone used a Sanken CS1 with a Sound Devices 664 and found any problems?
I have found that my Sanken CS1 does not work with with some mixers. It is fine with my Sound Devices 442. But when I have plugged it in to a MixPre or a 552, I have barely been able to hear sounds in the room through the mic, while on the other hand hissing is very loud, far above normal electronic hissing levels. Same problem when plugging it into an early version Nomad, but I'm not sure what version.
When having this problem. I have made sure I have phantom power on at 48v. Also, I am not talking about the "heart-thumping" problem that occurs with this mic if the low-cut knob is turned completely off -- that's a different problem (though perhaps it's related). Switching the CS1 for a Sennheiser 416 and making no other adjustment, the problem has gone away and the 416 sounds fine.
I'm on the verge of purchasing a 664 and want to check in to this. Thanks.
-Ben

Hi guys,
I'm a digital photographer (well cameraman!) and having spent a number of years focusing on imagery, leaving audio to somebody else, im now starting to move more into one-man operation and increasing my base knowledge of audio. I've spent a bit of time reading this forum over the past few weeks, but have a couple of queries.
The company that I work for tends to supply a lot of HD footage to the transport industry, so the work can range from ENG style interviews to being stood in the middle of a hillside filming a plane or train coming towards me. Both have quite distinct sounds that I need to ensure are picked up both from a distance and close-up.
I'm thinking of investing in a Schoeps SuperCMIT 2U or CMIT5u for the outside audio, feeding into a SoundDevices 788T-SSD recorder (with an XLR out to the camera for a base sync track). But want to ensure that I'm also capturing the surrounding audio as well, with the ability to mix (or leave out various channels) in post later. There is the need to take the immediate surround sound out at times, as I can occasionally be stood with other photographers and their camera shutters going off sounds more like a machine gun on the audio, so that obviously needs to be reduced as much as possible!
For interviews, im thinking more of a Sennheiser MKE418, with something like a Sanken WMS-5 for the outdoor surround sound. My line of thinking is that outdoor would have a Schoeps and WMS-5 using seven channels on the 788T, while interviews would just have the MKE418.
My question is do you guys think that is over the top, or the wrong set up? Also, for those who have used the SuperCMIT 2U/CMIT 5u I understand from a couple of colleagues that both the base setting and one preset at a time can be recorded simultaneously, so i presume that takes up two channels? I'm guessing the WMS-5 is the same but using 5 channels? Would something like the Schoeps Double M/S CMIT be a better idea than the WMS-5 AND SuperCMIT?
Also can any of you guys suggest the best set up of windscreen for the shotgun mic that can minimise the noise of a gale on a hillside!
I'd value your views? I haven't had chance to talk to any other sound guys that I know yet, so would value any opinions. I've no problem making the investment, but want to make sure I do it right, and with kit that is going to deliver long-term, potentially in a variety of weather conditions!
Cheers
Richard

Hey all,
I need some assistance. My CS3e made a pop-pop-pop sound while out on the field.
Situation was. Shot on the beach for a few hours. Then went inside car. We shot some stuff with doors open. Then we closed the doors. Then while we're recording some VO and wild lines, I hear some pop-pop-pop. Fast and intermittent. There were just three I think.
I would attach a sample, but I can't find where it is. It was a pretty quiet sound. I'm sure it'd be audible though, once amplified enough.
Is it preamp motorboating caused by the shift in humidity?
Is it RF?
I've often gotten a similar sound with the Schoeps, but I figured it was humidity or RF with that mike (it's a T-powered one so I expect it sometimes).
Thanks,
Sawrab

Hey all,
I was lurking around on r.a.m.p.s. and I found some posts about this
http://sanken.ch/english/det2-11.htm
Thought it was strange but I don't think this chart was inside my sanken case when I bought them (brand new).
Is it the way there are borders/edges are creating a Helmholz resonator? Seems like a neat way to boost HF.
Can this be done in some way with other microphones? Or figuring out ways to take advantage of this property of sound even more so in other cases. I actually didn't think Sanken could do this until I found this on r.a.m.p.s.
I feel like I could use some HF boost in the collar or up at the neck (or buried in a sweater or something). I usually use hush lavs in tie knots. I assume a hush lav doesn't offer the same HF benefit. I might try a different set-up now with the RM-11 mount, taking advantage of this HF boost.
Sawrab

Hi all,
I have an older Sanken CS3e and I am picking up a lot of RF interference when it it held next to electrical appliances particularly florescent tube lights. There seems to be little to none Interference when the rear of the mic is pointing at a light but if the mic is parallel or pointing at the light then there is a considerable (completely unusable) amount of interference. We were using it along side a newer CS3e which didn't suffer from this problem, which leads me to believe that there is a problem with mine. I am aware that there is a modification for older CS3e, which I did, but it had no effect on reducing the amount of RFI I was getting. If the light is moved along the mic there seems to be a greater amount of interference at the front of the mic then the rear. I was just wondering if anyone else had suffered a similar problem with CS3e's. I suspect its going to have to go for a holiday in Japan!
Many thanks
Chris McQuillan

Hello everyone
I know they have been covered separate, but just want to hear from people using either or both as their main all-rounder.
I have been using a CS-1e and love it, but need a new all-rounder for noisier, outdoors and so on.
CS-3e was the obvious choice to complement the 1e, but found a CMIT5u used for the same price so i thought i check
Thanks

Has anyone else experienced interference with their original CS1? I know the CS3 had problems but I have been getting a digital sounding interference that is difficult to trace/recreate. As I move the boom around in the air it gets louder and softer or disappears. Its kind of like that digital sound you hear when you hit slate on the Nomad except more steady/less staccato. I've only noticed it since recently upgrading to the Nomad but when I try to recreate it on my own I can't get it to happen again. The other time I know I've run into problems was on a show that had pretty beefy camera transmitters but the other two times there was no apparent cause.

Hi everybody,
I recently both a used lectrosonics um200b tx / ucr211 rx system (the first lectro I own) and finally I can buy the lav I want for it, a Sanken cos-11. There seems to be many different versions of the cos-11 and I'm not sure what's the best option for my wireless (at least all the diferent names listed in BH got me confused); I'll be using it for fiction and documentary work, mostly as a personal mic. Should I choose attenueted over not attenuated mic? What else should I consider? Thanks for your help.
All the best,
Andrés MD.

I own 5 Sanken COS-11 lav mics of various vintages and was wondering if anyone knows what ranges of serial numbers include the various versions: s, x, and d? It would be nice to know what version I'm really getting when buying used, or even new! I found no information about it on Sanken's web site. In case there is no clear answer, I'm going to share all but the last two digits of my serial numbers and encourage others to do the same. Perhaps we can reveal the break point in serial numbers for the different versions.
909XX - black COS-11s
940XX - black COS-11s
982XX - black COS-11s
1057XX - black COS-11x
1136XX - white COS-11d
The only way I know what versions I own is because I bought all but the lowest numbered mic new from dealers. They came with boxes that indicated their specific model, and was also reflected on the receipt. Curiously, the box for the d version said COS-11x and came with COS-11x literature, but was stamped with a D. See a pic here: http://img10.imageshack.us/img10/3758/sankencos11.jpg
For reference, the x version brought the following features/improvements:
- New and Improved Durable Design (strain relief where the cable meets the mic body)
- New Color Choices
- Improved Moisture Resistance
The d version brought:
- Digital transmitter RFI filtering/shielding/rejection. I understand this came at the urging of Zaxcom to prevent interference from their digital transmitters (which affected random mics).
Mark O.

Has anybody ever had experience with RF interference using a Sanken CS1e microphone?
By RF (and I'm pretty sure I'm right) I mean a HF scratchy whiney signal that is around certain places.
Will a 416 be RF immune?

Being on the verge of spending money again, I want to make sure this is the right step before parting ways with my hard earned cash. I'm a sound mixer who is relatively new to the craft (about 9 months doing location audio) and I want to invest in some pro quality wireless. One of the things that I feel is most key to being a good sound person is to have pristine audio. Now pristine is a relative idea but getting as close as possible is a good approach when you don't have the clients or money to access the top quality Zaxcom's/Lectro systems.
My question is about the sound quality of a Sennheiser G3 Wireless system wired to a Sanken COS11 lavaler
vs.
Lectro LMa/Lectro UCR100 wired to a Sanken COS11
= ?